They started by taking a flight at noon, once landed the search begun, a long trip by car, following the coast but nothing was found. The scientists tried to explore the deep forest even if the mathematical symbols indicated a submerged island in the ocean. The visibility was empathic, the surface made no sense.
Evaporated by the heat of incredulous eyes a new animal species defended their holy land.

Index and credits:
1. A man walks amidst tents set up on the floor of a gymnasium for parents of freshmen students at Tianjin University. (Stringer / Reuters)
2. An injured man looks on as he waits to be treated at a makeshift hospital in the besieged rebel bastion of Douma, northeast of the Syrian capital Damascus. (Abd Doumany / Getty Images)
3. Genetically-engineered fish (Amatitlania nigrofasciatus var.) glow in a tank during the 2014 Taiwan Aquarium Expo.
4. A reveller takes part in the 2nd LGBT Pride Parade at Alemao favela in Rio de Janeiro. (Yasuyoshi ChibayaAFP/Getty Images)
5. A Kyrgyz stuntman performing during the first World Nomad Games in the Kyrchin (Semenovskoe) gorge. (Vyacheslav Oseledkov/AFP/Getty Images)
6. A Palestinian man looks out of his heavily damaged house at neighboring houses which witnesses said were destroyed during the Israeli offensive. (Suhaib Salem/Reuters)

Jörg Marx is a German freelance photographer, based in Bavaria, mainly working on landscape and nature photography.

For me photography is a way of coping with the world. While an image leaves a gap, a text always want to close it. In my photos I try to leave space for the Vanished, Lost & Hidden. I’m interested in memory and its localization in the landscape. I ask myself what the trees could bear witness to what we have long forgotten. And I wonder if a place is still the same place after one has made war or other terrible things there. All landscapes are contaminated with forgotten historical events.

Font Atlas designed by Christian Schwartz, Susana Carvalho and Kai Bernau in 2012.

Atlas was originally designed as a corporate typeface for Munich Re, one of the world’s largest reinsurance companies. This typeface deliberately avoided contemporary trends in corporate type design in favor of the clear, optimistic tone of Dutch Modernism.
The client produces hundreds of publications, reports, and other documents each year.

They required a new typeface capable of maintaining clarity in often complicated typographical situations with a suitably well-considered range of weights. The new typeface also had to be economic in setting, saving space over the previous corporate face and saving significant amounts of paper in the process.